 The Clarinet BBoard
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Author: ThatPerfectReed
Date: 2014-03-06 17:51
No shortage of information exists on the bboard about people, like myself, reporting that synthetic reeds from manufacturers like Legere and Forestone seem to play flatter in pitch, particularly in the upper registers.
Some, particularly sponsoring artists, have suggestion embouchure adjustments mid-play to accomodate for this.
I'm generally against modifications to how we connect to the mouthpiece mid-play, although I'm pragmatic (or maybe lacking in virtuosity) enough to realize the need for embouchure adjustments to play low E and F in tune, or to maybe take in a tad more mouthpiece right before hitting C7 in Spohr 1 (particularly on a soft reed), or the need to adjust embouchure mid play to hit some of the fast near octave span triplets in the 3rd movement of same.
So, with this said, does anyone have other ways of keeping in tune on synthetics, or know why this happens, or find it never happens for them?
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Author: John J. Moses
Date: 2014-03-06 15:49
Hi
As a LEGERE Artist, I can only speak for the fine synthetic reeds they manufacture.
Many of us here in NYC use LEGERE reeds on every possible venue without any intonation problems. As a matter of fact, they play BETTER in tune than any of our older cane reeds. A good tuner can prove my point. All recording playbacks & fellow musicians comments about intonation, show the new LEGERE Signature Series are the best reeds on the market today. Test your cane reeds on a good tuner next to a fine selected LEGERE, the intonation comparison is remarkable!
Good luck,
John
JJM
Légère Artist
Clark W. Fobes Artist
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Author: ThatPerfectReed
Date: 2014-03-06 21:32
So the intonation problems you fail to have are not because you’re adjusting your embouchure on the fly, (consciously or not)? Okay. Fair enough.
Also in fairness, I have not tried the Signature line of Legere yet, but I have tried the others in the Legere product offering. Also in fairness, I’d like to hear from the Forestone crew.
Thanks for your thoughts Mr. Moses.
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Author: kdk
Date: 2014-03-07 00:09
John J. Moses wrote:
> Test your cane reeds on a good tuner next to a fine selected LEGERE,
> the intonation comparison is remarkable!
John, I've recently started to dabble in Signatures and am surprised about the variability from one reed to another of the same nominal strength. You mention a "selected" Legere. I'm curious - how many Signatures do you reject (what ratio)?
Karl
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Author: TJTG
Date: 2014-03-07 04:41
Maybe this will stir the pot... but doesn't every note require a specific formula of air speed, embouchure firmness, tongue height, finger placement, all thrown into question based on our reed's resistance..... There are innumerable details. Our whole time studying an instrument is dedicated to learning to overcome the it's eccentricities, yes? I personally adjust for every note, but maybe not specifically (consciously) my embouchure.
In my experience on Legere I've noticed a good deal of flexibility in pitch, maybe it's just exaggerating a characteristic in your own playing style? I use them on Eb sometimes because they in fact make it easier to move my pitch.
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Author: William
Date: 2014-03-07 19:54
To echo JJM's posting regarding his reeds, I must report the same success with Forestones and have absolutely no trouble playing "in tune" in all my performance venus. I, too, have noticed that it is much easier on a synthetic reed than with my older and unpredictable V12's. Forestones are on all of my clarinet and sax mouthpieces at all times and I've never been happier.
As far as playing with the "same embouchure" in all registers, that is probably not really accurate. There is no clarinet built that plays perfectly in tune in every register. You must use a tuning meter to learn which notes have special needs and then adjust your embouchure accordingly. Also, dynamic levels can affect the pitch of your clarinet so when playing softer, you need to loosen, when playing more forte, you need to firm up. Low E & F always need to be "brought up" on most clarinets--that means tightening. Now realize, I am not telling you to 'bite' more, all of this embouchure tempering must be done with the lips, not the teeth. So, relatively same 'bite' but with varying lip tension to make your instrument play in tune. After a while, this will become an unconscious habit with experience, something you will not have to think about. Your ear will tell your lips what to do while you just play the music.
Bottom line: you need to make automatic adjustments in lip tension to accommodate individual notes, dynamic changes, register leaps and other players. Playing with the same embouchure all the time is a myth.......
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Author: ThatPerfectReed
Date: 2014-03-08 01:07
I should clarify. I am sure we all make some (micro) adjustments to not only our embouchure, but other aspects of our play, during our play.
If we didn't then those with significant hearing impairment, for example, might not be at a disadvantage when playing clarinet. To point: hearing yourself and making adjustments is crucial .
I just personally find, and a fair share if you I know concur with this, that some synthetics are far more pitchy than cane.
Again, I can't fairly comment of the legere signatures I've yet to try. But Forestones, much that I love many aspects of their play, are an intonation problem for me .
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